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26 ORNAMENT 35.1.2011 W Specialist Americana F for useinherhomeandheardhimlecturemanytimes. for hissizeandimage.” gray herringbonesuit,abeigeandchocolatebrowncape.He dressed perfectly through herwindowwalkingdownthestreet—“Hisclothes were wonderful—a Administration. Frankieledseminars forpoliticians’wivesandothergroupson first withtheCIA,thenasacongressional aideandthenwiththeVeterans years laterhadasecond,Genie)movedtoAlexandria,Virginia, whereBillworked told hewouldnottakefemalestudents. hoped tostudywithFrankLloydWright,whohadahomenear Madison,butwas husband Bill’sgraduatestudiestookthemtotheUniversityof Wisconsin,she during WorldWarIIandtaughtelementaryschoolearlyinher career.Whenher Carolina, marriedherchildhoodsweetheartWilliamC.Welch(1921-1975) She studiedclothinganddesignatFurmanUniversityinGreenville,South fashion asayouthandhadnaturaltalentforselectingcoordinatingoutfits. ambition wrappedinadistinctlySoutherngraciousness. market—custom scarves—andmetcustomerdemandwithaprofessional her work.Aremarkablebusinesswoman,Welchidentifiedaprofitableniche details fromtheWhiteHouseceiling,developingastrongAmericanamotifin her designsaswell,rangingfromNativeAmericanjewelrypatternstoarchitectural States inthe1970sand1980s.Welchlovedincorporatinghistoricalelements she drewuponthepoliticalthemesandcorporateidentitiessoiconicofUnited F collection. PhotographsbyAshley Callahan, exceptwherenoted. AMERICAN FREEDOMTRAINSCARF ofQiana;86.4x20.3centimeters,1976. In 1952thefamily(theynowhadoneyoungdaughter,Peggy, andafew Frankie WelchwasbornMaryFrancesBarnettinRome,Georgia.Sheenjoyed rectangular scarf.Sheexplained,“Idesign look andallowedforefficientproduction. r textiles, but instead of cute mid-century imagery or bold 1960s patterns, textiles, butinsteadofcutemid-centuryimageryorbold1960spatterns, Keefe andVeraNeumannbeforeher,shecreatedcolorfulpopular rankie WelchisoneofAmerica’sgreatscarfdesigners.LikeTammis in themodule,likeFrankLloydWright.” repeated fourtoeighttimescreatea This approachcreatedacontemporary e on eight-inchsquaremodules,usually The majorityofherscarvesarebased a 2 l ShealsopurchasedyardsoffabricsdesignedbyWright n c h 1 k Shedid,however,oftenobservehim Ashley Callahan i 3

e Private 10/17/11 11:30 AM

how to select and coordinate clothing, offered private consultation and personal shopping services, and taught home economics at local schools and colleges. On September 12, 1963 she opened a shop of her own, called Frankie Welch of Virginia, in Old Town Alexandria in the historic Duvall House (where the city once hosted a reception for ). For the first eight years the family lived upstairs in the three-story home, so she was nearby when they needed her. The shop carried attractive, practical, classic clothes and accessories by designers such as , , , Adele Simpson, Mollie Parnis, and Oscar de la Renta, as well as AMERICAN REVOLUTION BICENTENNIAL affordable, tasteful apparel without designer ADMINISTRATION DISPLAY with a woman wearing labels. Welch decorated the shop with an a Thirteen Original States pattern Frankie , inviting combination of antiques, Native 1976. Unidentified photographer (first name Stephen), Frankie Welch Collection, Rome Area American baskets, and stylish splashes such as History Museum. a hot pink fabric by Jack Lenor Larsen.4 Her REAGAN TIE (detail), for and scarves figured prominently in the décor, George Bush of polyester; 139.7 x 8.9 centimeters, including in the entrance hall, which at one 1980. Frankie Welch collection, Courtesy of time was covered with over five hundred scarves Hargrett Rare Book and Manuscript Library/ Libraries. with her Alphabet design.5 Welch provided a welcoming setting and candid, discrete fashion advice. She kept confidential note cards recording sizes and prior purchases of her clients so that she could help them select new items that would fit doll-like pattern that Welch designed in 1960 and would complement what they already in order to illustrate various waistline owned. Customers included treatments for a class she taught. The design (who sometimes modeled for Welch), Susan quickly became a staple of her inventory and Goldwater (wife of Representative Barry eventually sold nationally. Frankies could Goldwater, Jr.), Nancy Thurmond (wife of be worn at least eight ways depending on how Senator Strom Thurmond), Perle Mesta they were tied at the waist, came in both (noted socialite), Nancy Plessinger (wife of long and short versions, and were made in an President Nixon’s press secretary, Ron endless variety of fabrics. Inspirations for Ziegler), Cathy Douglas (wife of Supreme the design included Claire McCardell’s Court Justice William O. Douglas), Lynda dress and Japanese kimonos.6 The Johnson Robb (daughter of President and comfortable, adaptable design appeared at ), Moya Lear (wife of numerous important events in Washington Lear Jet Corporation founder William Lear), including embassy parties, and Princess Lalla Nezha of Morocco. dinners and Kennedy Center award ceremonies. One of the most popular items the shop carried One woman even wore a Frankie made of gray flannel

was the Frankie, a versatile dress with a simple paper- to a ball at Versailles, and the mayor of Alexandria’s 27 ORNAMENT 35.1.2011

34_FrankieWelch2_CBJD.indd 27 10/17/11 11:31 AM BETTY FORD SCARF of silk, 1975. Historic Clothing and Textile Collection; Department of Textiles, Merchandising and Interiors; College of Family and Consumer Sciences; University of Georgia. WASHINGTON, DC SCARF (detail) of polyester; 83.8 x 20.3 centimeters, 1969. Frankie Welch collection, Courtesy of Hargrett Rare Book and Manuscript Library/University of Georgia Libraries.

daughter, Beth Beatley, wore one in white batiste (tied in the Mrs. Johnson gave the scarves to the attendees of the first back) as her wedding dress, while her bridesmaids wore short fashion show ever held at the White House, a patriotic event Frankies of yellow gingham tied in the front.7 that promoted President Lyndon Johnson’s Discover America In 1967 Welch debuted her first scarf, a project she travel program, highlighted Mrs. Johnson’s roadside and undertook when her friend Virginia Rusk (wife of Secretary of urban beautification efforts, and celebrated the American State Dean Rusk) commissioned her to design something fashion industry. The poster-like quality of the design fit well “truly American” that the White House and the State Department with the travel theme and the scarves figured prominently could use as gifts.8 Welch decided to use Sequoyah’s Cherokee on the runway. syllabary as both a tribute to Dean Rusk’s home state of Georgia Later that same year Welch designed such a renowned and and Welch’s own heritage—she is proudly 1/32nd Cherokee. diverse group of political scarves and outfits that she earned The characters provide an eye-catching graphic and curiosity- the label “political fashion specialist.”11 First she created a scarf raising image laden with historical significance. The scarf came (with blue “H”s on a white background with a green and in both square and rectangular formats and went through over blue border) and an H-line dress (a sleeveless green shift with forty printings and numerous slight design modifications. As a large blue “H” outlined in white rickrack) for Vice President with many of her scarf designs, Welch had yardage printed Hubert Humphrey’s presidential campaign. Welch then, at the so that she could make Frankies from it, and she fashioned it request of Betty Ford, designed a printed fabric used to make into short and pants outfits as well.9 The Cherokee pinafores worn by hostesses during the Republican National Alphabet scarf, which was always her best seller, even sold in Convention.12 It has an allover pattern of daisies in red, blue, the fashionable Le Drugstore in Paris.10 It also served its initial yellow, and green on white, with “Republican National purpose as a diplomatic gift and several were framed and Convention,” “Miami, Florida,” and “August 7, 1968,” subtly hung in United States embassies overseas. incorporated into the design. Welch also created outfits for a In 1968, through contacts with two of the First Lady’s youth group supporting Governor Nelson Rockefeller’s bid secretaries who were customers of Welch’s shop, Liz Carpenter for the Republican presidential nomination, blue and gold and Bess Abell, Welch designed a scarf for Lady Bird Johnson jumpsuits called Happy-Jams worn with rock pendant in red, white and blue with the words “Discover America” on necklaces.13 Completing the election season, she made scarves

28 ORNAMENT 35.1.2011 an abstract silhouette of the continental United States. with the “Forward Together” theme for ’s

34_FrankieWelch2_CBJD.indd 28 10/17/11 11:31 AM inauguration. The professional—and incredibly successful— Welch’s wrote, “[Welch] loved working with such a pretty non-partisanship she displayed set the tone for the rest of logo and hopes you like the design. Her contention is that you her career. won’t be able to sell scarves unless they are fashionable, so The 1968 political season impressed upon Welch the power she incorporated the little flowers and leaves to feminize the of conveying a message through fashion and she discovered overall design.”16 For a particularly individual scarf made in her true calling, as a designer and promoter of signature scarves. this style, commissioned by a man for his wife, Welch included She quickly formalized the custom design process and her the names of the couple’s house, boat and plane, as well as scarf business blossomed. In a brochure marketing her scarves the place and date they met and their child’s name, using the Welch advised, “The scarf is a strong corporate or institutional woman’s favorite colors.17 Welch also enjoyed making designs image tool and is a unique means of publicity for your firm. based on architectural details from historic buildings, resulting The scarves are ideal for premiums and employee incentive in similarly delicate and attractive scarves. programs. When a VIP visits your office, you can give them a The majority of Welch’s scarves were manufactured in the gift that shows they are special.” Her scarves—fashionable, United States, and the American Textile Industry even collectable, lightweight, and easy to pack—proved to be ideal recruited her as a spokesperson. Most of her scarves are made promotional items. The extensive list of corporations, clubs, of Qiana (a high-end silky nylon) or polyester, though many foundations, schools, politicians, and events for which Welch are of silk, cotton (including Supima, a luxury cotton grown in designed scarves includes the Algonquin Hotel, the United the United States) or triacetate. Usually they were presented States Air Force, Exxon, the Folger Shakespeare Library, the folded in a custom Frankie Welch envelope, sometimes enclosed , McDonald’s, United Way, Time-Life with materials about the client or a single-page insert Books, McCormick Spice, the New York Jets, the American explaining how to tie the scarves. Welch’s suggestions included Truckers Association, the University of Georgia, Kappa Kappa as a bib front, under the collar sailor style, on a hatband, Gamma, the National Press Club, and the Zonta Club. around a ponytail, on a purse, woven into a chain belt, or as a Welch’s contacts from her earlier clothing seminars and her headband. Welch also made men’s neckties, canvas tote bags, shop’s well-connected clientele proved to be invaluable for umbrellas, and one-module textiles that she called “napachiefs,” developing new business. Generally, the client provided Welch which could be used to wrap around wine bottles, as bows with an image of the company logo (or institutional seal, et cetera) and an indication of preferred colors, and Welch created a design, sometimes beginning on a napkin or scrap of paper during an informal conversation. She worked with an artist to finalize the design, typically done in marker on illustration board, and once it was approved, she had the design silkscreen printed. By 1974 Welch had created over seven hundred designs, and by 1980 over twenty-eight hundred designs, eventually topping four thousand. The majority of her scarves are based on eight-inch square modules, usually repeated four to eight times to create a rectangular scarf. She explained, “I design in the module, like Frank Lloyd Wright.”14 This approach created a contemporary look and allowed for efficient production. Many scarves feature a small logo repeated in a grid or diagonal pattern (which she calls a “quilt” pattern) with a simple border. Almost all of the scarves include her name. One style Welch often used beginning in the late 1970s features a small-scale logo or handwritten text incorporated into a line drawing of leafy tendrils, sometimes with flowers.15 In correspondence related to one such design, an assistant of

PEANUT DRESS, Frankie dress in peanut design of silk, circa 1972. Historic Clothing and Textile Collection; Department of Textiles, Merchandising and Interiors; College of Family and Consumer Sciences; University of Georgia. JIMMY CARTER PEANUT SCARF (detail) of silk; 86.4 x 20.3

centimeters, circa 1972. Private collection. 29 ORNAMENT 35.1.2011

34_FrankieWelch2_CBJD.indd 29 10/17/11 11:31 AM FRANKIE WELCH (center) with Hubert Humphrey campaigners, 1968. DUVALL SCARF (detail) of polyester; 86.4 x 20.3 Unidentified photographer, Frankie Welch Collection, Rome Area centimeters, n.d. Private collection. History Museum.

on flower arrangements, as quilting squares, or as scarves representing George Washington, John Adams, cocktail napkins. Abraham Lincoln, Theodore Roosevelt, and Lyndon Johnson. In 1970 Welch introduced a scarf for the Garden Clubs of The Military Post Exchange Service ordered thousands of the America, inspired by White House china, that features the Bicentennial scarves to carry in their shops worldwide. Welch fifty state flowers, arranged in eight bouquets with a single also made a scarf for the American Freedom Train, which Cherokee Rose (Georgia’s state flower) in the center. Lady traveled the country during the Bicentennial with displays of Bird Johnson gave the scarves as gifts and Betty Ford wore a American treasures. shirtwaist of the design when she informally met reporters Political scarves continued to be an important element outside of her home just before Nixon resigned.18 Welch also of her work, and in 1969 Welch designed a congressional scarf designed a scarf specifically for Ford that features polka dots with a blank reserve in one corner where the senator or (because Ford liked polka dots), petunias (Ford’s favorite representative could sign it. She designed peanut-themed flower at the time), and Ford’s signature.19 In 1976 when scarves for Jimmy Carter (both as governor of Georgia and the Smithsonian asked Ford what dress she would like to have a presidential candidate); scarves, ties, umbrellas, and totes represent her in the First Ladies collection, she selected a for Ronald Reagan’s first inauguration; and in 1993 a scarf light green dress designed by Welch. It has a simple princess for .20 silhouette, a mandarin collar, a narrow plunging neckline, Welch opened satellite shops in the late 1970s, most notably and long sleeves, and is made of a silk with an embroidered and one at the corner of Pennsylvania Avenue and 17th Street, sequined chrysanthemum pattern given to the Fords during near the White House (where First Lady Rosalynn Carter a trip to China with President Nixon. Ford wore it to several sometimes shopped) that remained open until the mid-1980s. state dinners and other events, and only agreed to donate it In 1982 Welch’s daughter Genie took over the shop in after Welch agreed to make her a duplicate. Alexandria, leaving Frankie more time to focus on designing Welch was an ardent enthusiast of American history and scarves. Her scarf business continued to grow, and she branched designed numerous scarves to celebrate the nation’s heritage, into corporate image consulting and interior design. She including a set officially approved by the American Revolution used her Watergate apartment, which she moved into in the Bicentennial Administration (ARBA): an ARBA scarf, a mid-1970s, as a place for hosting parties and entertaining

30 ORNAMENT 35.1.2011 Thirteen Original States scarf and a series of five presidential clients, and as a showcase for how to incorporate her designs

34_FrankieWelch2_CBJD.indd 30 10/17/11 11:31 AM FRANKIE WELCH WEARING A CHEROKEE ALPHABET DRESS standing in front of her shop, circa 1970. Unidentified photographer, Frankie Welch Collection, Rome Area History Museum.

into home décor—as wall coverings, bed linens, upholstery, 6. Nancy L. Ross, “‘Frankie’ Means Comfortable Fad,” Washington Post/Times Herald (March 28, 1966), C1. pillows, and table linens. Her original shop closed in 1990, 7. Eleni [Sakes Epstein], “Frankie’s a Find,” Washington Star, Sunday Magazine though Welch continued designing scarves and teaching for (March 22, 1964), 14, and Dorothy LeSueur, “‘Frankies’ Now Wrapping Around Nationally,” Washington Post/Times Herald (October 14, 1971). several more years. 8. Frances Cawthon, “Presidents Come and Go, but Frankie Welch Is Lame-duck- proof,” Atlanta Journal/Atlanta Constitution (January 11, 1981), F4. Welch retired to Charlottesville, Virginia, and continues to 9. Welch worked with textile designer Julian Tomchin to finalize the design. Fashion wear and collect scarves. Even a brief conversation with her designer Norman Norell made one of the first outfits from the Cherokee Alphabet design, a full skirt with a fitted black top and a wide patent belt. quickly reveals her infectious enthusiasm for fashion, creativity “Scarves for Wampum,” Washington Post/Times Herald (October 29, 1967), H6. and education. And, while her clothing shop and scarf 10. Frances Cawthon, “Former Georgia Designer Has a Bloomin’ Good Idea,” business brought her into contact with innumerable VIPs, the Atlanta Journal (May 15, 1970), B6. 11. Mary Wiegers, “Battle Scarves,” Washington Post/Times Herald (June 9, 1969), memory of her career that remains strongest is simply how C2. much fun she had as a designer. 12. Myra MacPherson, “If You Think a Political Button Isn’t Enough…,” New York Times (June 20, 1968), 54, and Eugenia Sheppard, “Equal Time for the GOP,” Women’s Wear Daily (April 22, 1968). For more images visit Web Exclusives at ornamentmagazine.com 13. Jane Day, “Buy Partisan: Politics Steps Out in Fashion,” National Observer (August 5, 1968), Frankie Welch Collection, Rome Area History Museum. 14. Churchman. SUGGESTED READING 15. Note card for McCormick, Frankie Welch collection, ms2003, Box 6, Courtesy of Weaver, Carol. “Frankie Welch: Designer for the First Lady,” Georgia Alumni Record Hargrett Rare Book and Manuscript Library/University of Georgia Libraries. Vol. 54, No. 1 (October 1974): 4-7, 39. 16. Letter from Jane for Frankie Welch, Alexandria, Virginia to Anne Sorrells, Little Welch, Frankie. Indian Jewelry: How to Wear, Buy and Treasure America’s First Rock, Arkansas, March 27, 1978, Frankie Welch collection, ms2003, Box Fashion Pieces. McLean, VA: EPM Publications, Inc., 1973. 3, Anne D. Sorrells/Orthotree folder, Courtesy of Hargrett Rare Book and ——. “Frankie Welch, President, Frankie Welch Textile Designs, Alexandria, Virginia,” Manuscript Library/University of Georgia Libraries. 214-219, in Patricia Harrison, ed., America’s New Women Entrepreneurs: Tips, 17. Eleni. Tactics, and Techniques from Women Achievers in Business. Washington, DC: 18. Note card for Fifty State Flowers, Frankie Welch collection, ms2003, Box 6, Acropolis Books Ltd., 1986. Courtesy of Hargrett Rare Book and Manuscript Library/University of Georgia Libraries; “Mrs. Ford Sees Dress Designer Instead of Her Doctor,” FOOTNOTES New York Times (August 9, 1974), 4; and Susan Bluttman, “Frankie Welch’s 1. Deborah Churchman, “Personal Service Draws VIPs to Chic D.C. Clothing Boutique—Where Mrs. Ford Shops,” People Vol. 2 No. 12 (September 16, Shop,” Christian Science Monitor (January 26, 1982), 18. 1974), 60. 2. Sarah Booth Conroy, “An Apartment with Walls to Go and a House That Pays as 19. Note on Betty Ford folder, Frankie Welch Collection, ms2003, Box 2, Courtesy It Goes,” Washington Post (February 10, 1980), L2. of Hargrett Rare Book and Manuscript Library/University of Georgia 3. Churchman. Libraries. 4. Kandy Shuman Stroud, “Eye on Washington,” Women’s Wear Daily (March 13, 20. Cawthon, “Presidents Come and Go,” and Maura Corrigan, “Famous Alumna 1969), 10. Gives Clinton Scarf,” unidentified newspaper [Athens, Georgia] (January 21, 5. Emma Livingstone, “A Frank-ie View of Style; Scarfs Tie It All Together,” 1993), Frankie Welch file, Georgia Biography Files, Georgia Clipping Files,

Richmond Times-Dispatch (February 27, 1972), G5. Hargrett Rare Book and Manuscript Library/University of Georgia Libraries. 31 ORNAMENT 35.1.2011

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